RoseLee Goldberg in The New York Times's T Magazine

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Photo by Daniel Shea.

Once left behind by the competitive market, live art is now everywhere — thanks in large part to its staunchest advocate RoseLee Goldberg.

I was standing in Marian Goodman Gallery’s booth at the Frieze Art Fair last year when a young girl in jeans and a T-shirt asked me whether I’d rather feel too busy or not busy enough. Nonplused, I said that on the whole, I’d rather be too busy, and she asked me why. I said that I didn’t know, maybe because it made me feel important. She considered this for a moment, then recited a passage by Heidegger.

By then, I knew that this — the girl, my nervous response, the entire situation — was part of a performance by the British-German artist Tino Sehgal. I asked her to repeat the Heidegger quote, as it was a lot to take in. This caused some tittering among the growing crowd, which felt a bit mean-spirited (she was a real child, after all). But the girl complied with my request, then turned and glided away. A moment later, she was replaced by another girl, who approached a different adult and asked him whether he’d rather feel too busy or not busy enough. When I left, there was already a line to the booth. By the end of the day, it snaked around the corner.

 

Read the feature in full here.

Watch videos of RoseLee's favorite moments from Performa, also featured in T magazine, here.